Film Style and Form 2

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Code Completion Credits Range Language Instruction Semester
311FSF2 exam 3 2 hours (45 min) of instruction per week, 54 to 69 hours of self-study English summer

Subject guarantor

Name of lecturer(s)

Petra DOMINKOVÁ

Learning outcomes of the course unit

By the end of the course students will:

-describe the means of film style and form and how they present themselves

-interpret possible meanings of films or short extracts seen during the lectures

Mode of study

lecture

Prerequisites and co-requisites

Preferably Film Style and Form 1, however it is not a condition of attending nr. 2.

Course contents

The spring term will focus 1/ on sound, the often neglected aspect of film style, and 2/ on narration. The students will watch films in their entirety on their own and short extracts illustrating particular topics in the class. The discussion is an important part of each lesson. Mutual exchange of ideas and artistic experiences enables the students to gain as much inspiration as possible. Students should ask anything that is not clear enough, bring their own ideas and participate actively in the whole course. (The course partially covers the topics for CDM final exam.)

Recommended or required reading

Recommended Reading:

Bordwell, David, and Kristin Thompson. Film Art. An Introduction. McGraw-Hill, 2010. 78-101, 269-298.

Bordwell, David. ”Mutual Friends and Chronologies of Chance.” Poetics of Cinema. New York and London: Routledge, 2008. 189-250.

Branigan, Edward. “The Point of View Shot.” Movies and Methods, vol. II. Ed. by Bill Nichols. Berkeley, Los Angeles, London: University of California Press, 1985. 672-691.

Brickman, Barbara Jane. “Coming of Age in the 1970s: Revision, Fantasy, and Rage in the Teen-Girl Badlands.” Camera Obscura 22:66 (September 2007), 24-59.

Browne, Nick. “The Spectator-in-the-Text: The Rhetoric of Stagecoach.” Film Quarterly 29.2 (Winter 1975-76): 26-38. (see http://faculty.washington.edu/cbehler/glossary/browneSpec.html)

Coyle, Rebecca. “Point of Audition. Sound and Music in Cloverfield.” Science Fiction Film and Television 3:2 (2010), 217-238.

Hexel, Vasco. “The use of dance music and the synergy of narrative vehicles in Run Lola Run.” The Soundtrack 3.2, 83-96.

Koizumi, Kyoko. “Creative Soundtrack Expression. Tôru Takemitsu’s Score for Kwaidan.” Genre, Music, and Sound: Terror Tracks: Music, Sound, and Horror Cinema. Ed. by Philip Hayward. London: Equinox Publishing Ltd., 2009. 88-100.

Kozloff, Sarah. Invisible Storytellers: Voice-Over Narration in American Fiction Film. University of California Press, 1989. 41-102.

Kozloff, Sarah. Overhearing Film Dialogue. Ewing, NJ: University of California Press, 2000. 33-63, 235-266.

Nardelli, Matilde. “Some reflections on Antonioni, sound, and the silence of La Notte.” The Soundtrack 3:1 (2010), 11-23.

Assessment methods and criteria

The final grade will be calculated as follows: Class attendance and participation (33,33%); presentation (33,33%); final test (33,33%)

Note

-

Further information

This course is an elective for all students of this school

Schedule for winter semester 2022/2023:

The schedule has not yet been prepared

Schedule for summer semester 2022/2023:

06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
room 107
Room No. 1

(Lažanský palác)
DOMINKOVÁ P.
14:50–16:25
(lecture parallel1)
Wed
Thu
Fri
Date Day Time Tutor Location Notes No. of paralel
Tue 14:50–16:25 Petra DOMINKOVÁ Room No. 1
Lažanský palác
lecture parallel1

The subject is a part of the following study plans